How far would you go to achieve your ultimate goal? Would you lie? Cheat? Manipulate? Abuse?
In 'The Edit', a stellar new play by Gabrielle Scawthorn, these questions take center stage—and refuse to let go. Drawing from her own experiences as a teenage reality TV contestant, along with extensive interviews with past participants and producers, Scawthorn has crafted a gripping, 90-minute dive into the constructed chaos of reality television. The result is a sharply observed, emotionally charged two-hander that leaves its audience both breathless and deeply unsettled.
At the heart of the story is Nia, a fresh-faced contestant on the dating reality show 'Match and Snatch', played with heartbreaking nuance by Iolanthe. Entering the world of fame-hungry hopefuls in search of love, Nia quickly finds herself under the guidance—and control—of Jess, the show's cunning producer, portrayed with chilling precision by Matilda Ridgeway.
Jess sees more than just a contestant in Nia; she sees an opportunity. If she can engineer Nia’s victory, it could be her ticket to a coveted Executive Producer role. What follows is a masterclass in manipulation. Jess positions herself as mentor, confidante, even surrogate big sister. But as the pair become increasingly entangled, the cost of "winning" starts to become devastatingly clear.
Scawthorn’s script is razor-sharp and unflinching, laying bare the industry’s underbelly—where edits shape reality, consent becomes murky, and ethics are easily sacrificed for spectacle. The pacing never falters, with each scene escalating in tension until a breaking point is reached: an unforgivable act that shatters the fragile trust between Jess and Nia. What unfolds is not just a takedown of reality TV, but a haunting exploration of ambition, trauma, and complicity.
The performances are exceptional. Iolanthe captures Nia’s transformation from wide-eyed hopeful to hollowed-out winner with heartbreaking clarity, while Ridgeway's Jess is terrifyingly believable—a woman whose own battles with mental health and eating disorder are buried beneath a facade of control and charisma. Together, the pair deliver a powerhouse performance that earns every second of the final ovation.
'The Edit' is not just a play—it’s a challenge to its audience. It asks: where is your line, and under the right pressure, could it shift? It’s a provocative, unforgettable work that forces us to question not only what we watch, but what we’re willing to do—and accept—for success.
The Bogong’s Song: A Call To Country at Bangarra Dance Theatre is an ingenious new production developed by Yolande Brown and Chenoa Deemal. It is sure to be another award-winning success following their previous highly acclaimed work Waru – Journey Of The Small Turtle which engaged thousands of children last year. The Bogong's Song presents a truly unique, culturally significant and entertaining performance.
The inclusion of puppets and shadow puppets was captivating and worked seamlessly with Justin Harrison’s fabulous video designs and projected images. Vanessa Ellis excelled as the puppet master and maker; her expertise elevated and transformed the performance into something unique and magical.
The music by Brendon Boney and Yolande Brown, who was also the songwriter and composer, was atmospheric and illuminating. It perfectly complemented the dance choreography with First Nations cultural influences interwoven beautifully throughout. I immensely appreciated the inclusion of Australian bush sounds and animals and First Nations instruments such as tapping sticks and the didgeridoo. These intricate details highlighted and celebrated the cultural significance of the performance.
The lighting by Ben Hughes and Eben Love allowed the audience to transcend into the dreaming experience with mystical effects and timely poignant moments. Particularly impressive was the green lighting for the grass and the beautiful starry scattered lighting.
The performers Benjin Maza and Tjilala Brown-Roberts delivered a majestic performance. They both showcased exquisite artistry in their dancing, acting and singing. They showcased the artistic choreography by Yolande Brown which was an eclectic fusion of First Nations influence combined with hip hop and contemporary dance. Benjin wowed the audience with fabulous strength in his acrobatic tricks and tight, clean movements throughout. Tjilala likewise delivered a flawless performance with soft smooth elegance. Benjin and Tijala both excelled in engaging audience participation and in delivering meaningful heartfelt messages and raising awareness to pressing community issues.
The story highlights environmental concerns of Australia's endangered Bogong Moth. It interweaves fascinating information which will hopefully inspire discussions and awareness to save this admirable insect. The content also delves into unsettling concerns of juvenile detainment and spreads awareness that children as young as ten years old are being imprisoned. This is heartbreaking and our nation can and should do better by our children. There are infinitely superior ways to help children grow and learn to be respectful and responsible future adults.
The performance also highlights our younger generation's phone addiction and how they are sadly spending less time being at one with the outdoors and nature. They discuss how essential it is to one's health and well-being to feel grounded to the earth and mother nature.
The Bogong's Song at Bangarra Dance Theatre is a thoroughly entertaining cultural experience to be enjoyed by all ages. They beautifully capture First Nations culture in the past, present and future and take the audience on a remarkable dreaming experience. The Bogong's Song is a meaningful and rewarding performance not to be missed.
It is difficult to imagine a world without animals and the love of a pet. When I was sent by What’s the Show to review Chicken in a Biscuit, I had read the synopsis and the line, “Welcome to the hilarious, heartfelt world of your pet’s inner life”. I was instantly intrigued. The synopsis said that there would be animals such as dogs, cats and bunnies featured and - full disclosure - this reviewer has loved being a pet mamma of two out of three of these animals (not the cat, and also from the title, I have not had chickens either!)
Whether you’ve been a pet parent or not, you’ll be captivated by the stories in this uniquely original play from Fixed Foot Productions. The play combines sharp, witty comedy filled with clever one-liners with moments that are emotionally charged and, at times, confront deeply serious themes head-on. Through skillful acting and seamless transitions between characters, Mandy Bishop and Jamie Oxenbould reveal the raw realities of life as an animal companion and the profound impact pets have on their human owners, and they on us.
Chicken in a Biscuit begins as the audience are being seated. There is a brown dog, later on we discover his name is Truffles Bolton, napping on the lounge in the corner, legs twitching in blissful sleep. The mood is calm; peaceful. When he awakens, Truffles, played by Jamie Oxenbould introduces the audience into his olfactory world. Whereas humans see in visuals, this senior 13 year old labrador dog introduces his favourite smells and how they represents the triumphs and failures of life. He gestures toward his human, Gary, who is affectionately portrayed and projected on the wall. He is head down in the toilet. It was comical as I initially thought his head was in the toilet because he had too much to drink that night. Then Truffles said he was a plumber, so that joke was cleverly woven in.
What follows is a series of monologues, seamlessly performed by the two actors as they alternate between characters, each one delving into five distinct scents, each carrying its own unique story. These scenarios form the basis of a cleverly constructed and connected narrative and the way it is presented showcases pure creative brilliance!
Bishop slinks onto the stage wearing a velour blue jumpsuit and kitty ears. She was a royal Blue Burmese pedigree kitty, talking disdainfully about her new owner Lisa Wilson, who adopted her from Janelle Paws Animal Rescue. This sassy cat owned the stage and made it damn clear that no-one, not even Lisa Wilson, would dare “own her”. Kitty had the attitude of a queen as she told the story of her previous owner named Vernon, who she seemed to adore but sadly he passed away, and as a result she went into the animal rescue shelter. Bishop was mesmerising as the cat - everything about her was cat-like, from the way she moved to her mannerisms and expressions.(The one time she was not regal, was when she could not help but play and scramble with a bag, a relatable type of cat play which had the audience laughing) Her description of Lisa Wilson was that of the stereotypical ‘cat lady’ which was very funny!
Dr Graeme Nestbender (Oxenbould) was next, a dentist who, after his marriage fell apart, fell in love with the simplicity of the life of his pets, the many rabbits who lived at (overtook) his house. The story was a strong one, and was presented to the audience as though we were the board, and had the power to take away his practising license. As his explanation for how he came to be in this position formed, it became clear that the underlying message was not about crime. Dr Nestbender was torn between two species, being cocooned safely in a rabbit suit which felt right, and his loneliness as a human. Oxenbould’s emotional performance as the dentist was outstanding, his character far different from how we had previously seen him as Truffles.
Bishop followed, this time portraying a dog. Super loyal to her owner Pam, this dog named Maximus, Decimus Fonzerelli was fiesty! His unwavering love for Pam and the absolute dislike and distrust for Pam’s boyfriend Terry left him in a pickle. He was tied up with a bark collar and although he was tethered by the leash and banished by the awful Terry, this dog would do anything to protect his beloved Pam.
Oxenbould returned to the stage as the beloved owner of Paisley, a pug who had attained a cult following on his Instagram page because of his variety of gorgeous outfits. In this monologue, the owner was grieving, doing a live eulogy online (with the cutest pictures projected for us to see) and telling Paisley’s story, which turned out to be a warning of the ups and downs of stardom.
Before Truffles came back to close the play, one more character’s story was told - Janelle, played by Bishop. We hear Janelle interviewing Lisa Wilson at the time when she had applied to adopt Fonzerelli. Told from this point of view, with Janelle’s relentless and sharp questions fired like bullets into the phone, combined with the Burmese Blue’s description of her, I felt like both had completed the character of Lisa so clearly that she was indeed another character in the play. The writers, Jamie Oxenbould and Mary Rachel Brown, skillfully incorporated the unseen characters from the monologues, making this two-person play feel like it had a much larger and lively cast. Congratulations to them both on their Australian premiere, and especially to Brown, who also directed this gem.
Chicken in a Biscuit offered a funny yet tender and heart-wrenching exploration of what it means to be truly known, regardless of species. It reflects on the stereotypes we hold about those we think we understand, and highlights the transformative power of love in shaping our lives. As we exit the Old Fitz Theatre, we are invited to contemplate the thought-provoking question posed by the wise old chocolate lab at the beginning, Truffles Bolton: “What does your life smell like?”
Season run: 3 October - 18 October 2025 at the Old Fitz Theatre, 129 Dowling St, Woolloomooloo Sydney Run Time: 80 minutes no interval Tickets: www.oldfitztheatre.com.au/chicken-in-a-biscuit
Emily McKendry is a multi-talented director, actor and playwright originally from Taree in NSW. Her first two plays, "The Haunting" and "Murder by Invitation" were very well received. Emily co-founded Odyssey Theatre in 2023 alongside Rebecca Smith and Caitlin Addinell. Today we take the time to meet Emily, writer and director of "Once Upon A Grimm Night", an immersive storytelling escape room experience currently being performed in Sydney.
About Emily McKendry
What’s your favourite fairy tale from childhood? Why?
It’d have to be Cinderella. I used to love the Disney film with the little mice and their corn, then was a bit shocked when I read the Brothers Grimm version: naaaasty. The live action remake is right up there with my favourite comfort films.
Which character from Once Upon a Grimm Night is most similar in personality to the actor/actress who plays them, and how?
I’d have to say Jared as The Narrator and myself as The Witch. Originally, I had thought that I would play the role of The Narrator but I always like to hold open auditions because you never know who will walk through the doors. We’d asked Jared to prepare for The Grimm but when he came in he’d prepared for The Narrator instead. His take on this wonderfully cabaret manic style Narrator inspired me to totally rewrite the character for him. As for The Witch – she’s socially anxious and prefers cats and crosswords to people – I did not set out to write myself but here we are.
What makes your show different from other interactive experiences?
I think the various types of interactivity blended within the one show whilst still maintaining a strong narrative structure. Most of the show is in fact scripted narrative, then on top we’ve got audience improvisation, escape room puzzles, and interactive potion making.
Why did you decide to perform your theatre experience at Old Government House?
You just can’t beat the immersive nature of an actual heritage location. We could try and replicate it somewhere else but it would cost a pretty penny and still never achieve the same ambience. One of my favourite parts of the show is when the audience enter The Witch’s lair – the gasps and audible appreciation of the setting give me little bursts of joy every time.
Do you have any funny or interesting stories of how people reacted during the last season of your show?
How long do you have? Audience interaction means that no two shows are the same. Unfortunately, a lot of them reveal spoilers for the show but The Witch scene always gets some hilarious audience responses.
There is a section where The Narrator asks the audience to consider their futures. One show Jared walked up to a lady and joked that he saw a lot of cats in hers, then with absolute glee she ripped her jacket open and revealed a T-shirt that was printed with the faces of all her 10+ cats. We couldn’t have written that better if we’d tried.
I know you’ve written 2 plays in the past. What inspired you to write this storyline in particular?
I used to write and be a Theatre Production Manager for Dark Stories Theatre, and a few years ago they got approached to create a production in a winery for a winter festival. It didn’t end up happening because there just wasn’t enough time to create it, but I got inspired by the idea of winter and harvest. Traditionally what would you do at that time of year? You’d gather around a fire and tell stories. BOOM; Grimm was born.
If there was any magical object you could bring into this Earth realm from Ever After…what would it be?
I’ve got to go with a classic – a magic wand. I grew up on Harry Potter and desperately wanting to be a witch and not a muggle. I’ve got my bibbity bobbity boo and levi-o-sa down pat.
Is there a sequel in the pipeline so we can see the adventures The Witch and Grimm Volkov get up to next?
You know, so many people have asked me that! I did leave the play open ended on purpose purely because I love the stories that linger with you and make you consider different possibilities. When writing the ending I’ll confess I created a rough outline of their future adventures but as for a sequel, who knows? Never say never.
